1. 20 Hz

    05:00

    from Chris Keller / Added

    687 Plays / / 0 Comments

    — PLEASE PUT YOUR HEADPHONES ON — Human hearing is capable of detecting sound waves between 20 and 20.000 Hz. … merely a small fraction of the frequency spectrum. Most sounds around us go unnoticed. - Starring Alix Wilton Regan (Mass Effect 3, Dragon Age : Inquisition)

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    • Kris Davis- Infrasound/live at Winter Jazz Fest 2015 (composition-Whirly Swirly)

      02:45

      from kris davis / Added

      28 Plays / / 0 Comments

      Video by KIDAM - Infrasound is Ben Goldberg, Oscar Noriega, Joachim Badenhorst, Andrew Bishop- Clarinets, Kris Davis-piano, Nate Radley-guitar, Gary Versace-organ, Ches Smith Drums

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      • Infrasound & Motion Sickness: Technical Review

        20:30

        from Kevin Dooley / Added

        13 Plays / / 0 Comments

        In this presentation, company co-founder, Kevin Dooley discusses his research paper titled: "SIGNIFICANT INFRASOUND LEVELS A PREVIOUSLY UNRECOGNIZED CONTAMINANT IN LANDMARK MOTION SICKNESS STUDIES" (Kevin A. Dooley 2013)

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        • Fausto Balbo "Lacrime di infrasuono" sound sculpture February 2015

          01:23

          from Fausto Balbo / Added

          47 Plays / / 0 Comments

          In this work the four loudspeakers are stimulated by infrasound, generating oscillations in the centrally sited metal stand, from which are suspended (by chains) four iron balls that the vibrations cause to strike eightmetal bars attached to the stand thereby producing various tone patterns. I 4 altoparlanti presenti in questa opera vengono stimolati da infrasuoni e, vibrando, generano l'oscillazione dell'asta metallica (situata centralmente) alla quale sono appesi, per mezzo di catenelle, 4 ciondoli in ferro che grazie al movimento vanno a sbattere contro 8 barre filettate in metallo, poste intorno all'asta di sostegno, producendo così, di conseguenza, svariati suoni. www.faustobalbo.it

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          • INFRASOUND

            01:58

            from aze3m afifi / Added

            0 Plays / / 0 Comments

            This is an installation for my Media Arts Final Project. It is an installation called infrasound which is a set of sound with different level of frequencies that may have an effect of human behaviour base on my studies and research on how can sound give an effect to human emotion. Theoretically speaking sound doesn't just travel through our ears but through our thought as well. That is how I'm trying to implemented the idea of infrasound in this installation.

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            • projekt Babylon

              02:14

              from Jan Nálepa / Added

              10 Plays / / 0 Comments

              -performance 15.01.15

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              • HSS/SBRG Visoko, Bosnia short presentation 30.07.2014

                43:40

                from Heikki Savolainen / Added

                116 Plays / / 0 Comments

                A partly presented introductory results of my last research visit in Visoko, Bosnia. Warm thanks to Sabrina Miklavcic and Jock William Doubleday for footage.!

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                • Infrasound video

                  11:05

                  from Jerry Brown / Added

                  18 Plays / / 0 Comments

                  Physics of sound below 20 Hz

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                  • CARMEN

                    13:43

                    from David Sudmalis / Added

                    120 Plays / / 0 Comments

                    Please note that the audio component is best experienced through dedicated speakers or headphones. Special thanks to Carmen Foon (performer), Simon Wellink (high-speed camera operator) and Shoot Studios, Sydney. STATEMENT by Lizzy Marshall, written for the 'Creative Revisions' Exhibition, Macquarie University, September 2014 “I liked the notion of slowness in this piece, capturing three ordinary actions that are amplified by the stretching of real time” (Sudmalis, 2014) Beguilingly it is easy to be lured by the visuals of CARMEN, when the artist is in fact a composer. It is the aural element which is predominant in understanding CARMEN, with the video an accompaniment. The work is structured through time in the same way as the artist would structure musical compositions through time. The musical theme is the material of the sine tone. Sine tones, can exist at any register, much like the iterations CARMEN displays in the triplicate visuals of barely discernible motions. Carmen is the name of the protagonist, it is her iterations that are captured, stretched and amplified over 13 minutes of composition with video. The ordinary is captured not only visually but also through the omnipresence of white noise which eventually subsumes the composition. Within the context of Creative Revisions, Sudmalis responded to the community of students at Macquarie University. An individual goes to university as one person and leaves changed, becoming a different person. It is often the unnoticed incremental changes to the individual through a process of social, political and educational activated forces which are manifested through barely discernible corporeal tics, or involuntary actions. Within CARMEN a triplicate image introduces us to the composition. The "ordinary" is captured by an unblinking eye which collects water and then closes and releases a tear, a naked forearm which sprouts goosebumps and the exhalation of a cigarette. The movement of these actions is so minute for the first 6 minutes it is almost unseeable, which directly relates to the fact that for the first half of this sequence the sound is almost inaudible. As visual arts goes we would presume that the primary voice is Carmen, however, the Hauptstimme is in fact the audible and inaudible sines. For Sudmalis, a composer whose medium is sound, he utilises the visuals to punctuate, or rather, amplify the movement of the composition. As an audience we are used to having our visuals punctuated by a soundtrack. CARMEN works conversely, whereby we are lured by the visuals only to realise that the narrative is driven by the composition. The visitor experience now has a blurred distinction between still and moving and the sense of presence is wholly dependent upon the movement of the sound. Doppler, creating a sense of movement in the low register sines, is introduced a third of the way through the piece. The movement of the composition now exceeds the movement of the visuals and from now on eclipses the experience of CARMEN. White noise is now always present until nearer the end of the work where it subsumes everything else. Rather than a continuance of the iterated sequences, the video has utilised different takes of the movements. The audible and visual are now in accord as the sound becomes a thudding drone, drowning our sense of time and acknowledgement of ordinary actions. CARMEN is instrumental in begging the questions: What does white noise and our personal iterations say about us? Are our personal iterations the white noise of our everyday? Is it the ordinary that defines us or makes us?

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                    • A New Theory On Motion Sickness: Infrasound & Motion Linked

                      19:04

                      from Kevin Dooley / Added

                      665 Plays / / 0 Comments

                      In this presentation, Kevin A Dooley describes the basics of sound, and proceeds to draw a compelling relationship between motion sickness symptoms, and infrasound exposure, with specific reference to wind turbine installations and their proximity to homes. His suggestions are backed by multiple, independent studies conducted on infrasound, and / or motion sickness incidence.

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